tmcg: (Default)
The NYRSF event on Tuesday night was a pleasure: wonderful audience, wonderful reading by [ profile] vschanoes from a devilishly funny and brutally painful novella, wonderful group to schmooze with, and a wonderful meal afterward at Milady's. Also an enjoyable round of drinks beforehand in the beautifully candlelit darkness of The Room, a little bar all brick and iron and stone and heavy wood—the perfect venue to set the mood for "Taibhse," the story I read, and just a few doors up from the SGDA.

Curator and host Jim Freund recorded the readings in both audio and video format; the story is in text format at my very Web 1.0 site The Vale of Broken Links; and I posted a couple of pictures on my website. (Podium is weirdly tall? Or five-foot-four is shorter than it used to be?)

tmcg: (aw)
[personal profile] jenlev, this reminds me of your lovely coffeeshop tradition, and I'm pretty sure I'll be copying the idea.

Found in a bookstore on January 2nd.

tmcg: (Default)
tmcg: (Default)
In the Pet Peeve Department:

If you use ellipsis points at the end of some dialogue to indicate faltering or trailing-off speech, you do not then have to announce in the narration that the utterance has "trailed off." It's evident from the punctuation.

If you use an em-dash at the end of some dialogue to indicate sharply cut-off speech, and the next line is another line of dialogue, you do not have to announce at any point that the second speaker has cut the first speaker off. The two lines of dialogue and their punctuation work aurally, just as in a playscript, and the reader doesn't need any help from the narrator to get what's happening.

For example... )

A lot of the time, "said" tags are unnecessary; we know who's speaking from context, from interpolated description ["Okay." His pained expression belied the assent. "Yes"], and from the content, syntax, and vocabulary of the dialogue itself. But "said" tags do serve a rhythmic purpose and help keep the reader oriented, and as long as they aren't awkward or excessive they're close to invisible, hardly registering on the reader's conscious mind, as integrated as punctuation. "He trailed off" and "he said, trailing off" and "She cut him off" and "she said, cutting him off" make the "said"s visible to no good purpose. When they appear frequently throughout a piece of fiction, they amount to a rhythmic crutch; to me they loom larger each time, and become annoying narrative tics. It's like the TV commercial where the guy's in the job interview talking about his qualifications and what the interviewer sees and hears is this droning guy in the background and the stain on his shirt SHOUTING IN CREEPY GIBBERISH!!!! He can't focus on what the guy's saying, because the stain distracts him so much.

tmcg: (neon quill)
A few minutes ago, I heard from another author on the phone that Robert Jordan had died.

I started copyediting his books with The Shadow Rising, in 1992. When you work on a long-running series for so many years, you develop a strangely personal relationship with the author even if you never meet face-to-face or speak over the phone, and I feel...bereaved, in a way that's hard to articulate. And frustrated, with a shake-your-fist-at-the-universe kind of anger. The Wheel of Time was the grand work of a lifetime, and he should have had the lifetime to complete it.

a few links )

tmcg: (quill)
It took me this long to get double-As for my camera and get a shot of this that looks more like the physical cover than the Amazon image does (it's quite a lovely, classy cover, so it deserves it), but at last I can say, "Look what showed up on my porch!"

It's the German-language edition of The Binder's Road, the sequel to Zauberin des Lichts, and I wasn't twmed this time; German Amazon dropped the weird Cassiopeian middle initial from my byline for this book. And it makes a lovely set with this one.

tmcg: (starry blue)
Having cars beep their horns in order to say "Yes, ma'am, signal acknowledged, ma'am, I'm all locked up, ma'am" when you use the remote to lock them is like having a doorbell that's loud enough to startle the neighbors and passersby and that instead of politely chiming cries "Look out!" and "Don't hit me!" and "Help!"

Using a potato peeler to laboriously strip the top layer from a stalk of celery you've already rinsed as thoroughly as possible feels a lot like washing the soap. Then again, sometimes the soap does need washing.

I can no longer listen to music while I write because I sense a melodic, rhythmic shape to sentences before I have the words to fill the shape; I need to listen, I need to be able to hear what I haven't said yet.

(I used to like to have music playing while I was writing, and on a panel at the last Albacon--when the question "What music helps you write?" came up, as it frequently does--I said I couldn't have music on at all anymore, and Barbara Chepaitis was curious why, and I told her I didn't know, although I had a vague unarticulated notion that it might have something to do with aging, that when I was younger I was better at handling multiple sensory input and multitasking. Maybe that is part of it, and maybe it's all just different ways of saying "I need to be able to hear myself think." But yesterday I found myself listening for, reaching for, that word melody that didn't have words yet, and I thought, Huh. Wow. This is why. And it is.)

tmcg: (quill)
I've been a freelance book copyeditor since 1987, when I started copyediting for Zebra and Pinnacle Books, and I've specialized in science fiction and fantasy since 1989, when I started copyediting for Del Rey. For fifteen of those years I worked in Editorial at The New Yorker, the last six of them as a Page O.K.'er (senior copyeditor/closing editor). I've been a full-time freelancer since April, 2000.

Houses I've freelanced for include DAW, Bantam, Del Rey, Tor/Forge, St. Martin's Press, Random House, Simon & Schuster, Baen, Byron Preiss Visual Publications, Phobos, Meisha Merlin, Pyr, and Putnam.

Genre authors whose work I've copyedited include Alan Dean Foster, Andre Norton, Angus Wells, Ann Tonsor Zeddies, Anne McCaffrey, Ben Bova, Brandon Sanderson, Bruce Sterling, C. J. Cherryh, Charles de Lint, Charles L. Grant, Charles Sheffield, Christopher Pike, Christopher Rowley, Dave Duncan, David and Leigh Eddings, David Drake, David Farland, David Weber, Dean Wesley Smith, Debra Doyle and James D. Macdonald, Diane Carey, Elizabeth Arnason, Elizabeth Haydon, Elizabeth Willey, Esther Friesner, Frederik Pohl, Gene Wolfe, Hal Duncan, Harry Harrison, Harry Turtledove, J. V. Jones, Jack Chalker, Jack McKinney, James Luceno, James P. Hogan, James White, Jane Lindskold, Jerry Oltion, John Barnes, John Ringo, Julian May, Juliet Marillier, Kate Elliott, Katherine Kurtz, Kathleen Ann Goonan, Kay Kenyon, Kristine Kathryn Rusch, L. E. Modesitt, Jr., Larry Niven, Lawrence Watt-Evans, Mark L. Van Name, Melissa Scott, Mike Resnick, Norman Spinrad, Orson Scott Card, Paul Chafe, Peter V. Brett, Poul Anderson, R. A. Salvatore, Robert Jordan, Robert Sawyer, Robin Hobb, S. P. Somtow, Sarah Zettel, Sean McMullen, Shariann Lewitt, Stephen King, Steven Barnes, Steven Brust, Steven Gould, Terry Brooks, Terry Goodkind, Tim Powers, Timothy Zahn, and Vernor Vinge.

I've also copyedited a large number of mainstream and literary titles, mysteries, suspense/thrillers, Westerns, romances, media tie-ins, and nonfiction works.

My articles about copyediting have appeared in the SFWA Bulletin and the Del Rey Books newsletter. A Writer's Guide to Understanding the Copyeditor is available to read online at the Science Fiction & Fantasy Writers of America Website.

To inquire about availability and rates, please email Terry_McGarry AT sff DOT net.

tmcg: (duet)
As linked by [ profile] sleigh and [ profile] fastfwd (that I've seen so far), Pearls Before Breakfast by Gene Weingarten, an interesting and very nicely written Washington Post article about an experiment setting up a virtuoso musician as a subway busker to see what kind of response there'd be from passersby. Includes video.

tmcg: (fairy)
Just got an email from Amazon telling me that they've shipped my test-preordered copy of the paperback edition of Triad.'s out!

Available from Amazon and Barnes and Noble online, as well as from Powell's, from my favorite place to buy books online, Books-a-Million, and from my favorite place to buy DVDs online, which has now expanded into bookselling and of the vendors listed here does in fact have the best price for this book, with no club-membership requirement: Deep Discount.

At I-Con I read from the chapter that mirrors the first chapter of Illumination from a nineteen-years-later perspective. It was received well, and reading it gave me a wonderful feeling of coming full circle while still moving forward.


Nov. 19th, 2006 01:45 pm
tmcg: (Default)
The quickie report on Italy, with snapshots:

Montefollonico )

Toscano )

Venezia )

Firenze )

Roma )

There's more I'd like to record about the trip, and so much more I'd like to say, about adventures in communication and about people we met and about trying to read Calvino's Invisible Cities in the original in Venice and about cultural subtleties and culture clash in unexpected places and all kinds of things. But this is the gist of the trip, anyway, and more than I thought I'd manage to post, so I'm content. So much happened that only the people we traveled with could really appreciate, so much comes down to "it was hilarious at the time, but I guess you had to be there"; and it's always interesting how articulating an experience, the act of describing it and the description itself, can change the quality of the memory of it, fixing it in words that maybe can never be exactly the right words and inevitably color it with all the other associations those words conjure; there's a cool passage about that in the Calvino book, which I'll have to find and post as a quotation. Photographs can facilitate memory or overlay it, take the place of it; telling a story can change the story. So I don't grieve what I left unrecorded in pictures (well, except for some cool shots I could have taken from the gondola if my film hadn't run out) or what I leave unrecorded in words; some of it might stay safer and truer that way, and all of it will no doubt, over time, leach into fiction, which, since I'm not a very good travel writer or memoirist or blogger, is where it's best used anyway. :)

tmcg: (leafy starry)
I received this remembrance of Jim Baen in an email from Bob (Robert Stacy), and he was kind enough to give me permission to post it.

The one and only time I met Jim Baen was in 1974, when I was travelling
cross-country with Robert Borski. Bob's agent, Kirby McCauley, set up a meeting
for us with Jim when we were on the east coast, shortly before Worldcon in DC.

We were a couple of hippie reprobates who'd attended Clarion the year before.
Bob had placed a couple of stories in F&SF and Analog.

Jim's "office" was in the back of a room lined with shelves, full of gawd
knows what. He was friendly, he was gracious. He didn't know us from nobody,
and he treated us like peers. The details of our conversation are lost to me
now, but the salient impression he left me with was how important it was to him
to not only hold a door open for new writers, but to make them feel welcome, to
feel special, for wanting to pursue such a lunatic goal as publishing their
dreams. His willingness to foster newcomers was an inspiration.

tmcg: (happywilly)
Illumination has come out in German. Yay! I got copies today, and family members who can actually read German snarfed them up, so I had only a moment to savor. But I'm psyched.

The weird thing is: On German Amazon, I've acquired a middle initial W. On U.S. Amazon until they fixed it, and still on, for Illumination I've been listed with a middle initial M. Neither W nor M is my middle initial, and I've never used my middle initial in my byline (although I think some magazine printed it once, for some reason I never got to the bottom of).

I can kind of see the M; it's the sort of typo you'd make when you start typing the last name, get distracted, then come back and type the last name in from scratch, leaving the first letter of the aborted attempt as a vestigial middle initial. But the W is a mystery to me.

It's the constellation Cassiopeia of middle initials.

I've been twmed.

tmcg: (fairy)
I understand that Web is descriptive. But a hyphen in "off-line" and no hyphen in "online"? Makes sentences like "You can work either online or off-line" look silly.

tmcg: (quill)
From last week's episode of The West Wing, "Institutional Memory":

Toby: I read the Constitution. I think I found a typo.

CJ: In the Constitution?

Toby: Yeah.

CJ: Did you call the publisher?

Toby: I think it's a typo in the original.

CJ: Constitution?

Toby: Yeah.

CJ: Seems unlikely.

Toby: I read two versions--because I have time--and there's an inconsistent comma.

CJ: No.

Toby: So I looked at every English-language publication that exists. Half of 'em have the comma, half of 'em don't.

CJ: Really?

Toby: Yeah. So I called the National Archives and had some woman look at the original. She said she wasn't sure if it was a comma or a smudge.

CJ: There's a smudge?

Toby: Yeah. A smudge. Of law.

CJ: Does it change the...?

Toby: It changes the meaning of the Takings Clause.

CJ: Seriously? I'm sure it doesn't.

Toby: I called Tom Merrill. He thinks it does.

CJ: Really? Should we--do something?

Toby: I'm gonna write it up. I have a window in the calendar.

tmcg: (quill)
Well, that was a pain.

It turns out that if you have the Web 11 (Merriam-Webster's New Collegiate Dictionary, 11th Edition) electronic version already installed on your machine, the current Web 3 (Merriam-Webster's Third New International Unabridged Dictionary) electronic version won't load correctly. You need to uninstall Web 11, install Web 3, then install Web 11 again.

I pretty much figured that when I ran into a problem, but I contacted tech support. here's our exchange, which solved the problem )

Maybe eventually they'll revise the FAQ, or maybe it's just not a Q that's F enough A. Or maybe they'd rather we all subscribe to the online versions of the dictionaries. But I can't always get online when I need access to Web 11 and/or Web 3, and I'd rather buy once than subscribe, so I am still thrilled that they offer these references on disk. And tech support got back to me within a day.

tmcg: (mousies)
Hey, Web 3 is on disk. Looks like it has been for a couple of years, but I didn't realize it till just now. Having Web 11 on my computer has been a terrific timesaver. I expect Web 3 will be both more so and less so: I have less frequent occasion to consult Web 3, but when I do, it's always a grumpy-groany "oh, man, I have to get up and schlepp across the room and manhandle that monster book." For twenty years I've growled a little growl when I had to resort to the dictionary of second reference. Now it'll be just a keyboard shortcut away. There's a hundredth of a calorie I won't be burning anymore. Plus, portability rocks. I remember the days when I had to carry a backpack of reference works with me if I had to bring work to a convention, and just going outside to work in the garden became a mini-emigration.

Chicago is supposedly due out on disk, but not until later this year. In the meantime, it's still searchable here, if you've got the book itself close to hand.


Nov. 2nd, 2005 09:15 pm
tmcg: (happywilly)

Triad has been released. Hooray!

I haven't scanned in the dust jacket yet; the title and byline colors are different from (and much more pretty than) the ones in that image, and I hope a scan will do it justice. The book looks really beautiful. The insides ain't bad either.

I are very pleased. :)

tmcg: (quill)
I'm heading to Readercon this weekend.

Here's my programming schedule. )

In honor of the Poetry Slan to be held in celebration of the Rhysling Award, here's "Awakenings: Cryogenic Dream #2," a poem by the wonderful Roger Dutcher featured on the Star*Line Website till the next issue comes out. Roger and Mike Allen coedited The Alchemy of Stars: The Rhysling Award Winners Showcase, which will debut at the con. Yay SFPA. :)